A seemingly small announcement by Atomos and Nikon during this years CES show could generate enough impact to affect future roadmaps of other mirrorless camera manufacturers: The Nikon Z 6 and Z 7 will be able to output a RAW video stream to the Atomos Ninja V which will record that stream as high-quality ProRes RAW.
That’s the news and the development is still in progress so it’s just that: an announcement. Time to move on then? Not so fast: This collaboration marks the point in time when RAW recording (internal or external) in a mirrorless camera has become a de facto standard! Filmmakers always strive for maximum quality. SD, HD, 4K.. 8K? 8-bit, 10-bit, 12-bit.. 16-bit? Sure, bigger is better. Why should one compromise on quality if the other make and model has it? Do you always need RAW? Of course not but isn’t it nice to have it handy if you need it? Yes, sir!
Atomos Ninja V & Nikon Z: ProRes RAW
The Blackmagic Design Pocket Cinema Camera 4K (BMPCC4K) does record RAW internally or externally already (cDNG now, Blackmagic RAW later). Even the original BMPCC did cDNG but both cameras sport comparably small sensors. The Nikon Z 6 and Z 7 feature full frame sensors. In order to accurately judge critical focus, an external monitor seems appropriate. If you happen to choose the Atomos Ninja V monitor/recorder you end up with this: A full-frame camera which records ProRes RAW, in a nearly pocket-sized package.
For Nikon this business move should have been relatively straightforward: They don’t have a cinema line of cameras they have to protect. They are free to boost the still fresh Z line of mirrorless cameras as far as possible. Things are different with Canon, Panasonic or Blackmagic. But since this Nikon/Atomos collaboration is happening, the other manufacturers will have to make a move. Let’s see what the upcoming Panasonic S1(R) has up its sleeve. The EVA1 does sport RAW recording for quite some time now so Panasonic knows how to do it. Canon has Cinema RAW light in their C200 cameras, so plenty of know-how there. Will they do it? That’s the big question here.
How Does it Work?
The Nikon Z 7 or Z 6 camera outputs a stream of RAW data to the Ninja V using a 4K HDMI cable. Since RAW data just contains the unprocessed sensor read out, it’s all about transfer speeds and not so much about processing horsepower. Incoming data is repacked into the ProRes RAW format by the Ninja V. From there the resulting video stream is recorded to the removable SSD drive just as any other video stream.
The heavy lifting of debayering and processing is outsourced to the editing computer, which usually has a lot of processing power both in terms of CPU and GPU. Furthermore, ProRes RAW helps to keep file sizes reasonable – uncompressed RAW results in lots of SSDs in no time.
What’s up, 2019?
A mirrorless camera with a full-frame sensor, recording RAW? Back in the days, Magic Lantern laid the foundation with their Canon 5D mk.II hack, enabling RAW recording. It wasn’t perfect but it worked (still does). Now, in 2019, RAW recording becomes mainstream. Other manufacturers will have a hard time explaining why any of their upcoming cameras won’t have RAW capabilities and as always this competitive pressure is to the benefit of us, the indie filmmaking community. Sure, we don’t need every feature all the time but for me personally, RAW is more important than –let’s say– 8K. Quality over quantity (of pixels).
RAW for the masses is a welcomed improvement, at least to me. I’m very curious how all this will impact the higher-end market of (proper) cinema cameras. Features like an interchangeable lens mount, internal ND filters, modular design or a variety of powering options are still a thing for bigger and more expensive cameras and sometimes there are very good reasons not to use a tiny mirrorless camera. However, the gap becomes smaller and that’s probably a good thing! Protecting their higher end models and still deliver satisfying (smaller) mirrorless cameras is a huge challenge for most manufacturers, let’s hope they get it right.
Prices will drop, higher end features will trickle down the line, the possibilities will grow. We still have to wait for that perfect camera because there is no such thing as the perfect camera but we’re heading in the right direction, I’m sure.
links: Atomos | Nikon
What do you think? How does RAW in every mirrorless camera sound to you? Share your thoughts in the comments below!

Sharp just teased a new camera with micro four thirds sensor capable of 8K video recording at CES 2019. The official announcement is planned for the NAB 2019 show, but Kinotika managed to get some information from Sharp representatives and to do a hands-on video with the dummy prototype.
Sharp 8K MFT Camera. Source: Kinotika Youtube Channel
Sharp and 8K
The connection of the term 8K resolution and Sharp (since 2016 owned by the Chinese company Foxconn) is neither new nor surprising. They have been producing TVs with 8K resolution for a while now. Even in the field of 8K recording the company is not a new player. Already back in November 2017 during Inter BEE show in Japan Sharp announced the 8C-B60A – super 35mm camera which records in 8K 4:2:2 10-bit. (See our interview with Masazumi Kaino-san from Sharp). The camera was primarily aimed for the Japanese broadcast market – as in Japan 8K is generally more accepted and used than in rest of the world.
Because of their 8K TV portfolio it is actually no wonder Sharp pushes 8K in the production field so much.
Sharp 8K MFT Camera – Preview
Please note that there is no official information from Sharp about this camera yet as it should be announced at this year’s NAB show in April. Sharp happened to have a dummy camera now at CES on their booth as a kind of teaser. The camera does not even have an official name yet. Dave Altizer from Kinotika however, got his hands on the dummy prototype and published a Youtube video about it.
The Sharp 8K camera will have a micro four thirds sensor and will be capable to shoot in 8K resolution (7680×4320) at up to 30fps with H.265 compression (Sharp is supposedly working on a 60fps 8K mode). When it comes to media, Sharp 8K cameras will use UHS-II SD cards. Honestly, I am a bit concerned about some specs.
Firstly, SD cards will be able to provide only a limited bitrate and this in combination with the 8K resolution can be quite tricky. For illustration, with 8K we record with four times more pixels than with 4K (and 16 times more pixels than with FHD). The H.265 compression is roughly twice as effective as H.264, but the files are not easily editable. Of course it will also depend on the codec used, which has not been announced yet.
Secondly, micro four thirds sensor with 8K resolution will have at least 33Mpx which means the pixels will be really tiny. According to Slashcam (article in German) the pixels will only have a 2,25 µm long side which is approximately the size of pixels in cheap “point-and-shoot cameras” or smartphones. Physically smaller pixels will probably result in the sensor creating a lot of noise with higher ISO values and will possibly not have a great dynamic range.
Sharp 8K MFT Camera. Source: Kinotika Youtube Channel
Furthermore, as mentioned in Kinotika’s video, there will be some kind of stabilization on the sensor (electronic or physical). The camera will have a huge 5″ flip out screen (Panasonic-GH-style) which I find is a great idea. I just hope the tilting mechanism will be rugged enough given the size of the display. As mentioned there are couple of physical similarities with the Blackmagic Pocket Cinema Camera 4K, like the overall size of the body or the connectors on the left side – Full size HDMI, USB-C, headphone, microphone jacks and Mini XLR port.
The camera should retail for less than 5,000$ which would be unprecedented for a device which records in 8K. I am curious about the final specs to be revealed at NAB. As much as I like the micro four thirds mount, I am a bit sceptical about its ability to handle 8K resolution. For instance, the requirements in terms of sharpness for lenses will also be higher with 8K.
What do you think of the new Sharp 8K MFT camera? Do you think recording in 8K will soon become a thing in the consumer/prosumer sector? Let us know in the comments section below
Sources: Kinotika, Slashcam

The DJI Smart Controller has an ultra bright, HD touch screen built into the remote control, replacing the need for your smartphone.
This latest update from DJI is a redesign to the remote control for the Mavic 2 Pro, Mavic 2 Zoom, Mavic 2 Enterprise and other drones running DJI OcuSync 2.0. The DJI Smart Controller features a 5.5 inch ultra bright touch screen which replaces the need to use a smartphone running the DJI GO 4 app.
Ultra Bright High Definition Display
Removing the smartphone element of the controller is designed to greatly improve the setup and operation time of the drone and controller. DJI claims the setup time with the Smart Controller to be 30 seconds, compared to a few minutes when using a smartphone. The Smart Controller can run continuously for up to 2.5 hours, a benefit over using a smartphone that could run out of juice when flying (it happened to me once and it was rather terrifying).
The screen itself boasts a 1000 cd/m2 brightness, which is roughly twice as bright as regular smartphone screens. This is ideal for setting the desired exposure, white balance and flying in bright sunlight, where sun shades would have previously been used. The operation temperature range has also had a boost, ranging from -20° C to 40° C, which expands the usability of the setup even more.
The DJI Smart Controller displays full HD video, transmitted over auto switching frequencies (2.4 GHz amd 5.8 GHz respectively) up to 8km. This is designed to sustain the best image quality and reduce interference.
Edit and Share Your Videos and Photos From The SJI Smart Controller
The controller will run the Android system, and will have an optimized version DJI GO 4 installed making use of the larger screen real-estate. A number of third-party apps for editing and sharing aerial videos and photos will also be installed.
Wifi is required to share and transfer files from the Smart Controller to a smartphone using the new Go Share function. It appears that other third party apps can also be installed, but DJI takes no responsibility if something goes wrong when using them. A microSD card port is built into the controller to expand the 16GB on board memory.
The DJI Smart Controller is also capable of livestreaming to social media platforms, with a built in microphone, as well as video playback through the HDMI port up to 4K 60p to external monitors. This is an interesting feature for allowing other crew members such as DoP’s or directors to see the video downlink and influence the composition and style of the aerial shots.
Here are the specifications of the DJI Smart Controller:
Compatible with drones using DJI OcuSync 2.0 (Mavic 2 Pro, Mavic 2 Zoom, Mavic 2 Enterprise).
1000 cd/m2 brightness.
5.5 inch screen size.
Controller runs a custom Android system with DJI GO 4 and third party apps.
Auto switching transmission frequencies between 2.4 GHz and 5.8 GHz.
Transmission distance up to 8km.
HDMI video output up to 4K 60p in H.264/H.265
Quick charging 5000mAh battery capable of 2.5 hours continuous use.
Operation temperature range from -20° C to 40° C.
Detatchable control sticks.
microSD card port for expandable memory.
The DJI Smart Controller will be available to purchase from January 2019 from $649.00, with combination packages also available. However, does the additional price tag really replace using a smartphone all together? At the end of the day, we all usually have our phone in our pockets, some with greater brightness and display resolution than others. It will be interesting to see the uptake of the Smart Controller considering it’s retail price.
Would you invest in the DJI Smart Controller for a brighter screen and expanded functionality? Why wouldn’t you invest in the controller? Let us know in the comments.

Chinese manufacturer Gudsen has gained a very positive reputation amongst shooters of all ranks with their MOZA line of consumer- and professional stabiliser systems.
At CES 2019 in Las Vegas they have revealed their newest addition to their lineup: the MOZA Mini-S – a compact handheld 3-axis smartphone gimbal.
New: MOZA Mini-S Smartphone Gimbal
Clearly Gudsen brought their know-how to bear and created an extremely foldable smartphone gimbal, which is supposed to make transportation easier.
Gudsen also claim to have improved the design over previous gimbals to allow for quicker and easier balancing and setup to give the user more time to be creative.
The handle is slightly slanted forward, which – according to the manufacturer – results in an ergonomically better hand position while operating the gimbal and thus reduces the danger of the hand slipping.
Additional features like short-cut buttons and quick replay, are supposed to simplify the operation while useful functions such as vertical photography and camera control allow you to diversify your mobile filming style and adapt to different scenarios.
MOZA Mini-S Smartphone Gimbal: slanted Design
The MOZA Mini-S features a built-in telescoping pole that extended to a total length of up to 18 inches.
It basically turns the gimbal into a fully stabilised selfie-stick.
This is very useful, when shooting yourself with the front-facing camera.
It also might be a nice feature to get the smartphone to the perfect vantage point using the better quality rear-camera: up high, through fences or windows or over cliffs — but it might be hard to be able to see the phone’s screen in situations like that.
MOZA Mini-S Smartphone Gimbal in Selfie-Stick-Mode
Apart from enabling the user to capture cinematic and smooth footage the MOZA Mini-S also features various shooting modes: hyper-lapse mode, slow-motion mode, inception mode, sport gear mode and vertigo mode.
Inception-mode clearly caught my eye, but I suspect its feature that lets the smartphone rotate around the Z-Axis continuously.
Vertigo mode sounds like the MOZA Mini-S in combination with its software can pull off something known as a »contra-zoom« – zooming out while moving the camera towards a subject — or vice versa.
This has been famously used in Alfred Hitchcocks film »Vertigo« (1958) – thus the name!
The gimbal works with the MOZA Genie App, which is used to configure, control and update the gimbal. It also acts as a camera-app and is available both for iOS and Android.
MOZA Mini-S Smartphone Gimbal with Genie App
It remains to be seen what codec options and professional features will be available in Gudsens own MOZA Genie app and if “pro” video apps like FilmicPro or Mavis will support the gimbal — something that would make the device more interesting for professional use.
The MOZA Mini-S is available in two colours: Black and White.
The MOZA Mini-S is clearly aimed at the consumer market and its built-in selfie stick looks like it could be a lot of fun.
That being said — combined with a capable smartphone the MOZA Mini-S could very well be a useful tool to have especially if the software allows for decent bitrate codecs.
Let us know your opinion in the comments. Are you currently using smartphone gimbals in your professional work? Do you consider using such a device in the future?

Insta360 just introduced their new high end VR 360 camera – the Insta360 Titan. It incorporates 8 micro four thirds cameras and can record up to 11K 10-bit cinematic VR video.
Insta360 has been one of the biggest innovators in the field of VR video for the past years. Today’s announcement just confirms their strong position. The company already released two high end VR cameras in the past with the Insta360 Pro and Insta360 Pro 2. The Pro line now officially becomes “high end of yesterday”. The freshly introduced Insta360 Titan takes VR content creation to the next level.
Insta360 Titan – 11K Resolution with 8 MFT Cameras
The new Insta360 Titan indeed incorporates eight camera modules with micro four thirds (MFT) sensors – the largest sensors in any standalone VR camera. Bigger sensors open up more possibilities in terms of image quality, dynamic range, lowlight performance and color depth. All of that is packed in quite a compact ball-shaped body known from Insta360’s Pro line of VR cameras.
Key shooting modes include 11K at 30fps, 10K 3D at 30fps, as well as 11K 360 photos in 3D and monoscopic formats. Additional shooting modes include 8K at 60 FPS and 5.3K 360 video at 120 FPS. Very good news is that Insta360 Titan supports shooting in 10-bit color depth for more flexibility in color grading.
Insta360 Titan front/back view. Source: Insta360
Insta360 Technology – FlowState, Farsight, CrystalView
The Titan uses Insta360’s signature onboard FlowState stabilization technology known from the latest consumer flagship, the Insta360 One X. From what I have seen so far, I have to say the results are very impressive and truly gimbal-like.
The new VR flagship camera comes standard with Insta360’s Farsight live monitoring system. It consists of a transmitter and a receiver that can be easily attached to a phone or tablet and it enables VR filmmakers to easily preview and control their shoots remotely.
CrystalView is Insta360’s proprietary playback tech which lets creators easily playback the VR content even in very high resolutions. It renders in real time exactly the part of a video a viewer is watching – with no computing power wasted on displaying what’s behind their head. Therefore even mainstream smartphones will be able to play back full-quality Titan content.
Insta360 Titan side/top view. Source: Insta360
The Insta360 Titan will have its premiere at the CES show in Las Vegas this week. If you are planning to go there, make sure to visit Insta360 booth (in Convention Center South Hall 1, at Booth No.21018).The company is now accepting reservations for the new VR beast. Shipping of the first batch (reservations) is planned for April 2019. The Insta360 Titan is priced at $14,999 USD and the reservation is confirmed with a fully refundable deposit.
What do you think of the new Insta360 Titan? Have you used Insta360’s Pro line of VR cameras? Let us know in the comments underneath the article.